ALL ACCESS: Bobby Jarzombek

CD/DVD Review: Sebastian Bach – ABachalypse Now

Frontiers Records

All Access Review: B+

Sebastian Bach - ABachalypse Now

Twice, Sebastian Bach brings the proceedings to a halt, waving his arms and yelling, “Stop the show.” As only he could, the hyperactive former Skid Row front man admonishes the crowd at Hellfest in France on this warm, sunny summer day in June 2012 for not being as lively or making as much noise as he wants.

They respond with feverish enthusiasm, and Bach gets his band to again rev their engines. And the caution flag drops, signaling a jailbreak restart.

To Bach, this is church, and the congregation has to be frothing at the mouth to receive communion in the form of screaming vocals, snarling riffs, searing guitar solos and thick, muscular grooves – except for the sweet power-ballad nectar of “I Remember You,” that is. No Sebastian Bach show would be complete without that Skid Row love potion of tangled acoustic strum, big swells of amplified chords and Bach’s surprising vulnerability. That goes double for the riotous “Youth Gone Wild,” which sends the Hellfest crowd into complete hysterics.

Captured on video and audio in a new Frontiers Records live two CD/DVD package – of varying, but mostly outstanding, quality – titled “ABachalypse Now,” the Hellfest performance is part of a trio of 2012 live Bach meltdowns crammed into one 160-minute DVD of what is being hailed as the ultimate Sebastian Bach experience. And it is wall-to-wall Bach up in here, his infectious exuberance impossible to ignore – and there are bonus music videos of “Tunnelvision,” “I’m Alive” and “Kicking & Screaming” to boot. Strong, but rough, sounding audio CDs of the Hellfest and Live at Graspop, Belgium, gigs are here as well, capturing the dynamic interplay of Bach and his band of heavy metal outlaws with full, hard-hitting sonic force.

Whether it was the heat in France or the slipshod camera work, the Hellfest performance is the weakest document of the three. Despite Bach’s efforts to rally the troops, the band lacks personality and energy, and Bach himself seems completely bored having to play “18 & Life” for the millionth time. Harder, edgier stuff like the bottom-heavy “American Metalhead” and “Monkey Business,” not to mention the combustible opener “Slave to the Grind,” saves the day, however, as Bach’s band thrashes, growls and salivates while gnawing on the bones and sucking out the marrow of these meaty songs.

In sharp contrast, the Live at Nokia show, filmed in colorful high-definition on Aug. 2, 2012, is absolutely riveting. Professionally shot and edited to thrill, this is worth the price of admission alone, ending with a savage rendering of “Youth Gone Wild” – enflamed by Black Veil Brides’ Andy Biersack joining his strong bellow with Bach’s wildcat howl. Lesser vocalists would leave the stage with collapsed lungs while delivering such a challenging performance, but the charismatic Bach is made of stronger stuff, prowling about like a dangerous animal being poked at by a trainer who’s about to be mauled. And he hits every seemingly unreachable note with gusto. With help from several guest guitarists, his band sounds sharp and vicious, attacking “Big Guns,” “(Love is) a Bitchslap,” “Piece of Me” and the heavy stomp of “Tunnelvision” with raging intensity, as drummer Bobby Jarzombek, of Iced Earth and Riot fame, hits everything in sight with bad intentions and guitarist Johnny Chromatic emits clear, rich tonality on every precise solo. Almost always in motion and supremely confident, they affect rock poses that are totally unscripted and completely born of the moment.

And “ABachalypse Now” isn’t finished, as Bach and crew battle the elements at Graspop. In a steady downpour, they forge onward, laying siege to an audience that deserves a powerhouse performance for getting soaked to the skin. And they get it. Splashing around in puddles onstage, Bach’s outfit guts it out, hammering their way through “Kicking & Screaming,” “Dirty Power” and the aforementioned “Big Guns.” And Bach invests himself fully in the proceedings, tearing his larynx to shreds in the name of rock ‘n’ roll and taking time out to laugh at the weather and kvetch about Mother Nature’s timing. Things go wrong, with false starts and the like, and that’s all right. The imperfections make it memorable and exceedingly likeable. So is “ABachalypse Now.” (http://www.frontiers.it/home/)

– Peter Lindblad

CD Review: Riot - Immortal Soul
SPV
All Access Review: B+

More an indictment of apathy towards war in foreign lands than a desperate plea for attention, “Riot,” the incendiary opener off Riot’s latest album, Immortal Soul, asks a pertinent question: “What’s it going to take to make you riot?” What, indeed, is it going to take for people to wake up and take notice of a grossly under appreciated cult band that’s been around since 1975 and tossed a few exquisitely explosive heavy metal Molotov cocktails into the fray between 1977 and 1981 with the albums Rock City, Narita and the quintessential Riot classic Fire Down Under?

When the New Wave of British Heavy Metal threatened to drown us all in spiraling twin guitar leads, screaming vocals and stampeding rhythms, Riot, the pet project of guitarist and lone remaining founding member MarkReale, a man who understands the capricious nature of rock and roll all too well, seemed poised to become America’s answer to English cousins Iron Maiden, Def Leppard, the Tygers of Pan Tang and Saxon, among others. Riot was cut from the same cloth, from the blazing guitar duels ignited by Reale’s ambitious fretwork to pulse-pounding rhythms and wailing vocals that could fill up the most spacious of arenas. The pace of their songs was blistering, and they didn’t opt for the clichéd fretwork and grooves so many lesser bands take when confronted with a fork in the road, musically speaking. At the very least, while opening for the likes of Sammy Hagar, Black Sabbath and KISS, Riot’s ballistic live performances should have spurred a groundswell of support that would eventually lead to massive record sales and sold-out stadiums. Alas, it wasn’t to be.

The usual suspects are to blame, of course. Too many lineup changes, record label treachery, seismic shifts in musical trends and the occasional lukewarm effort all conspired to keep a good man like Reale down. Word has it he was even living out of his car in Los Angeles at one point. And yet, through it all, Reale kept Riot alive, tenaciously holding on to the belief that his time was coming. Occasionally, he’s been able to recapture that old magic that made them one of metal’s top title contenders in the late ‘70s, as Riot did near the end of the ‘80s. The faithful always held a special reverence for the lineup that recorded 1988’s Thundersteel and 1990’s The Privilege of Power, and Reale has reassembled the crew of Tony Moore (vocals), Don Van Stavern (bass), and Bobby Jarzombek (drums), along with live collaborator and guitarist Mike Flyntz for another tour of duty.

The band’s rebirth is nothing short of remarkable. After a recent scorched-earth tour of Japan and a triumphant Sweden Rock Festival outing, Riot unleashed Immortal Soul in late 2011, and it is a beast. Out of the gate, the blinding speed and white-hot fury of “Riot” – a ballsy title considering it’s also the name of the band – outraces many of Riot’s thrash-metal brethren, with Moore’s squealing vocals adding urgency and excitement. “Sins of the Father” is just as scintillating, traveling as fast as a bullet from point A to point B and not forgetting to plant a series of hooks that claw flesh. “Crawling” is something altogether different. With an undeniably exotic Middle Eastern feel, courtesy of serpentine, hookah-smoking guitars, the undulating “Crawling” is a seductive and hypnotic siren’s call that listeners must repeatedly heed. Even more melodic is the soaring epic “Fall Before Me,” which artfully contrasts meaty, grinding riffs with angelic harmonies, while the title track is stylish and dark, a not-so-subtle nod to Queensryche’s Operation: Mindcrime.

Blessed with an impressive vocal range that easily reaches high notes other singers would have to stand on a chair to tough, Moore is impossible to ignore. He can sound tough and tender, as he redeems an otherwise lackluster “Whiskey Man,” or he can fill a room the size of a football field with his volume and high-pitched screams, as he does on “Insanity.” While Reale and Flyntz pound away at dynamic, thundering riffs and construct intricate helixes of notes that amaze and awe, as they do in the high-flying “Believe,” Moore’s presence is just as powerful. And don’t sleep on Jarzombek’s drumming, with its crispness and propulsive momentum, augmented by Van Stavern’s flexible bass work.

Not the edgiest album to ever see the light of day, Immortal Soul is, nevertheless, a classic-sounding heavy metal record, with strong songwriting and interesting diversity that mostly goes for the throat and takes daring risks. At times, it sounds almost reeks of desperation – not a bad thing for a band that’s been around this long – as if Reale and company are willing to try and do anything to catch your attention. More often than not, Immortal Soul does just that.

- Peter Lindblad

Addendum: Just one day after posting this review Mark Reale was hospitalized due to complications of Crohn's disease, which he had battled most of his life. Sadly, Reale died on January 26th, 2012. He was an amazing musician and the world of hard rock / heavy metal lost another great one. RIP Mark Reale.